Roland Rock

Like BT says, the vibration is influenced by the thing that is holding the string tight, as the energy will pass into that as well. Make a bass from polystyrene, and one from steel, and see how different they sound! When comparing different wood types, however, they are obviously much more similar materials, and the differences will be less pronounced. It makes sense to me that the more dense the wood, the 'brighter' the sound, as the vibrations are not absorbed by the wood as much. However, it's a small factor among many, so whether it's a discernible difference is debatable. One thing is for sure, nowhere has anyone shown that they can listen to a bass, and then tell you what it's made of. Far too many variables.

It's been the soundtrack to my work today. I especially love the version of Spank a Lee - quite a bit more laid back than the album version. Chameleon was a bonus too - great intro, and played with a very laid back and gentle touch. Great stuff, thanks for posting

[quote name='White Cloud' timestamp='1363544383' post='2013915'] Dead right. Always agree the fee. No payment = no play.... its as simple as that. agreeing to take a percentage on the door is a nonsense. Would you pay a plumber based upon the amount of times the toilet he fitted is flushed? Would you pay a joiner based upon the amount of times the door he hung was opened? We all love playing, its a passion, but do not let club/bar owners take the piss. [/quote] I agree with Milty, albeit in a bit more of a positive manner ;-) I'm not keen on that analogy; the plumber thing would only work if revenue was generated with each flush, which it isn't. The percentage of the door thing is more like a salesman's commission, or publishing royalties (let's not go there again!). In these cases, it's an arrangement which minimises risk for the payer, and increases potential reward for the payee. The percentage of the door model is like this, but highly flawed. It's win/win for the landlord as they have little outlay, yet get door money AND bar takings. The band have a limited upside due to venue capacity. They are doing all the hard work (marketing etc.) for nothing more than the money they should have been getting for just playing.

That's the stuff! Thanks for posting. I love Palm Grease, and was disproportionately upset when I posted it in the Funk and Groove thread, only to be told that it didn't belong there :-0 Great video, I look forward to giving it the time it deserves tomorrow

[quote name='Skol303' timestamp='1363439172' post='2012702'] Lots of great bassist being listed here (Mingus definitely gets my vote). Here's a curveball that the vast majority of you will [i]hate[/i] with a passion… Tom Jenkinson (aka Squarepusher) and 'The Modern Bass Guitar'. It blows my head that this track is played using a bass, albeit with a shedload of MIDI mojo going on. It's lightyears away from what most people consider to be 'musicianship', but for me, this guy is a modern-day gunslinger for sure. http://www.youtube.com/watch?v=bUet8XYs5dg [/quote] Hey Skol, good call. This is my favourite track of that album. I'm not actually a fan of his more 'straightforward bass guitar' songs, but love this. Can't wait to see him in 2 weeks!

[quote name='Dingus' timestamp='1363363184' post='2011885'] In terms of frequency response , the Stingray is a very weird bass . It has massive bottom end , some mids missing , some mids added and lots going on in the treble . It all adds up, to the Stingray tone we all know and most people love . [/quote] I was young with no idea about eq, so I suspect I just hoiked all three knobs to the max It would be interesting to have a go on a Ray now and see if I could get a tone I liked, now that I'm a bit more clued up.

I play at home, either coming up with basslines, going over scales/modes etc. or just playing along with songs I love. For me, pretty much all of that is a means to an end; it's practicing to be the best I can be [i]within a band context[/i]. I have very little interest in the bass as a solo instrument.

[quote name='Mr. Foxen' timestamp='1363357575' post='2011761'] With the tone controls on the bass terror, scooped is what you are stuck with. [/quote] [quote name='Dingus' timestamp='1363360833' post='2011833'] A Stingray has got a natural midrange "scoop " to it's sound anyway - it's a big part of what makes a Stingray sound like it does - so it isn't likely you would want to cut the mids too much with that bass [/quote] This would explain why I couldn't get on with the OTB I tried, or my old Stingray

[quote name='SpaceChick' timestamp='1363268794' post='2010715'] the songs I think deserve more, the originals have more.... but what I have done is sufficient to "get the job done"..... probably enough for your average punter too. My problem is I am a perfectionist! [/quote] Sorry - maybe i focused on the "show off" and "showcasing your skills" aspect of your post too much - didn't want you going all Jaco in the middle of Red House If you genuinely feel that your newer basslines make the songs better, then go for it. Like others have said, if you don't feel confident that you can do it effortlessly, then hold back till you can, maybe by 'upgrading' a couple of songs per gig. The perfectionist in you should be satisfied that you are making steps to make everything right, but avoiding any trainwrecks in the process.

Do what serves the song, rather than yourself, best. Good luck :-)

I recently bought UB40's 'Signing Off' album, and was hugely impressed (having grown up thinking they were just a mediocre reggae/pop covers band) Earl Falconer is hugely underrated imo http://youtube.com/watch?v=PpNlM9eF5hA

Gig #12 The Hop Pole in Bromsgrove, Saturday 20th April. We'll be playing a lot of new songs, as we have two 40 min sets to do, and really looking forward to it.

[quote name='TheGreek' timestamp='1363167186' post='2009378'] AD/DC Wine at LBGS [IMG]http://i1167.photobucket.com/albums/q639/FairfaxAikman/LBGS2013012_zpse0cf1bb4.jpg[/IMG] [/quote] Did they have a whole lotta rosé?

Here's one I like - Space Oddity, taken from the studio masters. I needed to learn the song, and had trouble making the bass out in the song, and found this on Spotify - an enormous help. Fine playing and lovely tone too: http://youtube.com/watch?v=BfbIFiOiHNo

[quote name='Pete1967' timestamp='1363083946' post='2007989'] Ditto what RR says about the thickness of the veneer. Nowadays veneer is typically .6mm. If that's what you need then this might do the trick [url="http://www.ebay.co.uk/itm/Wood-Veneer-Samples-/370576274467?pt=UK_Crafts_Other_Crafts_EH&var=&hash=item5648113423"]http://www.ebay.co.uk/itm/Wood-Veneer-Samples-/370576274467?pt=UK_Crafts_Other_Crafts_EH&var=&hash=item5648113423[/url] but if you need the 3mm maple then you probably will need to have that specially thicknessed. [/quote] Ah, I just read the OP again, and see what you mean - I thought you meant 3mm zebrano, which is available in link I posted. Should do the trick though? It will also save the hassle of veneering :-)

Post Victorian era, wood 3-4mm thick is not known as veneer, so maybe that's where you're having trouble in your search. Have a chat with Bob at Timberline, he'll sort you out: http://www.exotichardwoods.co.uk/Woods_List/Boxmaker.asp

Beyond doubt. :-D

[quote name='mikhay77' timestamp='1362773806' post='2004744'] +1 anything of Vulgar dispaly or far beyond driven,just really cool riffs [/quote] Yeah, the riff starting at 4.00 mins is great on this http://youtube.com/watch?v=ikAJBucW_2Q Also love a bit of Sons of Otis or Lightning Bolt for heavy riffage

[quote name='Skol303' timestamp='1362693544' post='2003605'] That's not an 18cm wide fretboard you understand... although there is some truth to the octopus thing: [/quote] Nice :-D Did you mean 18mm string spacing at the bridge?

[quote name='Dingus' timestamp='1362686709' post='2003442'] Thinking about it , lot of the greatest players are so distinctive in their styles that you couldn't really say that were varied . Was Jaco varied ? You hear the same licks time and again in his playing and he fits them in to different musical situations . He only ever played like Jaco . Was James Jamerson varied ? He did one thing , i.e be himself with that signature sound and that approach , and did it very well in any situation . I suppose that if you have a significant style then variety is less important , or even something to be avoided . [/quote] I'd say that how that player arrives at that style is partially down to how varied they were in their formative years

[quote name='hamfist' timestamp='1362508599' post='2000477'] Not sure i see the point of all this "pseudo-worship" of how brilliant variety is, and isn't it all so great. [/quote] I'm sure that playing a number of styles has been beneficial to me, but wouldn't dream of saying that it's what everyone should do. If it's any consolation, I only play one instrument, and have no desire to play any others :-)

Nice mix of party tunes, although I find the Garbage one a bit dreary personally. I'd be happy if I were at a wedding and the band played that lot well. :-)

[quote name='MiltyG565' timestamp='1362648354' post='2002556'] Eh? How do you know exactly what "people" think about music, and to what degree they like it to? And even then, how does what other people think about music ruin it for you? [/quote] I read that as a mini rant about people who are only into 'crappy pop music' and the cult of celebrity, rather than quality music, and the subsequent difficulties of getting 'real' music into the industry. Of course I've been known to be wrong :-)

[quote name='fred8816' timestamp='1362618907' post='2002408'] Thank you RR, It's not the flame I was concerned about, but the circular grain which is around the same area... sorry for the quality of pictures I took, see the third photo for a clearer view... My question is, if Fender is picky enough to showcase their selection of wood on different classes of their instruments, why would this imperfection (the circle that's likely where a branch was) exist on their highest quality CS while even Squier basses don't have? http://www.fender.com/news/quartersawn-necks/ [/quote] Sorry, I was concentrating on the flame, as the grain didn't look all that unusual to me. I've just gone up to look at my '78P, and guess what? part of the neck has circular grain with a bit of flame! Trees are not perfectly straight, and when you chuck them through a saw, you may find stretches of quarter sawn turning into patches of tangentally sawn. Mine has never had any issues, and I certainly wouldn't call it an imperfection. Like the others have said, get a proper service done and it'll be right as rain. Lovely bass btw :-)

I wouldn't call that a knot, more a patch of flame. You can see that the grain itself (the lines running from left to right) is not affected by this flame. The flame itself is a kind distortion in the wood fibres in the form of a ripple (chatoyance). I work with wood, but am not a luthier, so can't say for sure about the flame effect on the neck. i work with flame a lot, and it seems just as strong as normal maple. There are many high end necks made from 100% flamed maple, and it seems to have no detrimental effect.